Lindsay Anderson and Shelagh Delaney's The White Bus is a surrealistic
film about a secretary who takes a strange trip, part of which takes
place on the eponymous vehicle. The nameless girl has a seemingly dull
life, which is interrupted by periodic flights of fantasy involving
suicide, recreations of paintings, and pieces of meat that suddenly run
blood-run. Between these fantasies are the details of her real life,
especially as she begins a journey home to visit her family. She
encounters a wide variety of people -- a teen-ager exceedingly angry
that his rubgy team has lost a match, a young man who proposes marriage,
a lord mayor who enjoys feeling her leg -- as she travels to locations
ranging from a community center and a public library to a natural
history museum and a civil defense demonstration. Along the way, the
girl maintains a façade of passivity, even when events become quite
surreal, as when all of her traveling companions turn into human dummies
during the civil defense drill. At the end of the film, she enters a
restaurant and eats dinner while the owners pile chairs on the tables
around her, obscuring her from view and complaining about the
never-ending pace of work.

The Man in the White Suit (1951)Directed by Alex Mackendrick, 85 mins

A classic Ealing comedy running fast out of wartime austerity into a post-war rearrangement of class, capital and technology about combine again in a headlong collision. The films central tension makes for an interestingly prescient take on theories of communisation: "A young scientist invents a material that is indestructible and repels
dirt. He soon finds himself caught between the moguls of the textile
industry and the trade unions, all equally determined that his invention
never sees the light of day." - Screenonline

The Man in the White Suit is
a whirling mess: of sabotage and complicity, of things falling apart
against the threat of never falling apart. A desperate, clinging
defense - capital and labor, all together now, or we're all fucked! -
in the name of decay and forced obsolescence. A coming together as a
nasty collective (headed up by arch-capitalist Sir John Kierlaw, seen
above with cane, seen elsewhere haunting the dreams of child labor, a Dark Crystal Skeksis
of textile monopoly, his laugh a hissing poisonous exhalation that has
to be declared after the fact to have been laughter ) to destroy to
protect the order of things that are destroyed, run-down, and cast out
"naturally."

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